Calibration is an exhilarating experiment
Rodriguez-Lopez’s new album gives listeners a taste of his warped sense of taste in music.
Published Feb. 12, 2008
Omar Rodriguez-Lopez has already established himself as one the most prolific songwriters/producers/musicians of our time, if not of all time. In 2005, he relocated to Amsterdam and managed to write five albums worth of material in one year.
Most of his albums of course revolve around his guitar taking many different forms via his massive effect pedal collection, and even though Rodriguez-Lopez has in no way exhausted his ideas that stem from the guitar, he has chosen to take a different approach to his newest release Calibration (Is Pushing Luck and Key Too Far).
To be put bluntly, Calibration is Rodriguez-Lopez’s electronic album. This doesn’t mean that every song features a synthesizer (even though most do).
This means that nearly everything recorded is processed through a myriad of effects. Dissonant shards of feedback are often looped in the background, creating an unnerving, yet overpopulated atmosphere, which at times doesn’t seem to make sense. It only comes together at the exact moment Rodriguez-Lopez allows it to.
As one can expect, all members of Mars Volta make an appearance at some point or another. Cedric Bixler-Zavala loans his vocal prowess on two of the tracks, “Calibration” and “...Is Pushing Luck.”
The two songs are mirror versions of each other, revolve around the same vocal line and have a similar drive with very different instrumentation.
Another common collaborator of Rodriguez-Lopez’s, Red Hot Chili Peppers’ guitarist John Frusciante, brings forth the best effort on this album.
Oddly enough it is not for a guitar solo, but for lead vocals on “Glosa Picaresca Wou Mên.”
His haunting vocals fade in and out only revealing certain lyrics, such as “I know where I’m at/I know where I’m at.”
Maybe Frusciante knows, but anyone listening has no clue where they are.
The texture found on “Calibration” creates some of the most interesting moments in Rodriguez-Lopez’s career.
“Sidewalk Fins” ends with a pulsating synth, fuzzed and oscillated to the point of distorted madness, constantly becoming louder and more disturbing, pushing the patience of the listener.
Of course, as with many experimental albums, certain moments of obsession with texture bring about completely nonsensical noise (but who didn’t see that coming?).
Due to the experimental nature of this record, many will instantly be turned off by its over-the-top feel.
But if you are brave enough, Calibration offers some very strong musical moments; not in a catchy or rocking sense, but in a mind-fuck sense. Sometimes you need to blow all of the excess out of your brain, and this album will do that for you.
